Search Results for play

... historiography as a primary approach to the plays. Nearly every study defines its understanding of the role of history somewhat differently. Meredith Malburne-Wade considers the problem inRevision as Resistance in Twentieth-Century American Drama: “What are all the plays studied herein—plays that weave...

...David K. Sauer © 2012 Duke University Press 2012 19 Drama David K. Sauer The year’s selection of books and articles has several common denomina- tors, despite the wide diversity of the plays in time and space. The most prominent shared feature is concern to address...

... the audience in playing along that its guilt in feeling superior to the earlier time is accentuated, in a sense fusing the two time periods. What is playful is clearly recognized as a theatrical game, in its original time and in the present, yet the very chant crosses the boundary of game. Entering...

... areas of study, the most compelling studies here are interdisciplinary and distinguished by an increasingly wide focus. The context for analysis is not just a historical moment but the sweep of history. A particularly apt example opens William Inge: Essays and Reminis- cences on the Plays...

...,” and the other studies fit more comfortably into the more traditional headings of theory, groupings of plays, and individual studies of playwrights. i  Drama as History The 2012 Outstanding Book Award winner from the Association for Theatre in Higher Education is Racial Innocence: Performing American...

...David K. Sauer © 2015 Duke University Press 2015 19 Drama David K. Sauer The common thread in this year’s studies is an effort to contextualize plays, particularly rich both in number of full-length studies and in the diverse directions they pursue. Especially bountiful...

...David K. Sauer © 2014 Duke University Press 2014 18 Drama David K. Sauer Last year’s innovation in drama criticism was a kind of historicism that wove together artifacts surrounding a play like Uncle Tom’s Cabin to define a broader context, though to some extent reducing...

... increase in the focus on critical theory. That changed by the mid-2010s to studies heavily laden with historicism, as the scholarly literature considered how plays reflected on and responded to the periods in which they were written. More recently we see a new tendency, one that reveals perspectives...

...-overlooked Imperceptible Mutabilities in the Third Kingdom (pp. 1–17). Len Berkman’s “Language as Protagonist in In the Blood” (pp. 61–72) goes beyond the usual interest in Parks’s vernacular and ortho- graphic playfulness to focus on how language itself constructs reality (not realism) in the play...

... and Young Jean Lee and by Jeffrey M. Jones are among the most informative, no-nonsense, and illuminating writing I have seen on nonlinear, language-driven, playful, sometimes collaged plays that are increasingly common and still leave traditionalists flummoxed. Wellman identifies the new work...

... that assess plays reflecting the legacy of Reconstruction, a culture-wide fascination with eugenics, the effects of jazz as both music and trope, and silent film’s debt to the stage. If this is the most often addressed era in the year’s work, race is its most frequently visited broad topic and makes...

... Drama Philip Seymour Ho√man, and Robert Sean Leonard; Thornton Wilder’s Our Town with Paul Newman; Terrence McNally’s Frankie and Johnny in the Claire de Lune with Edie Falco and Stanley Tucci; and Lanford Wilson’s Burn This and Fifth of July, all in revivals; and new plays like...

... and context are so patently mutually constitu- tive. Accordingly, I am arranging this chapter to reflect the centrality of cultural studies in considering drama. Sections titled “Plays” and “Playwrights” come first, but the latter part of the essay is a broad cat- egory I’m calling Performance...

... to be reminded of such rst principles. Many of the works studied by this group of scholars operated simi- larly. Even the most popular Broadway plays served this function in a way. In Rise Up: Broadway and Society from Angels in America to Ham- ilton (London: Methuen Drama, ) Chris Jones quotes President...

... as a Connecticut delegate pledged to Eugene McCarthy—did not totally jibe with the rugged individualism he espoused in his plays. Miller was cynical about government and com- munity while imagining “truth and ideals accessible without reference to viewpoint” and “art and politics as mutually exclusive...

...); and the success of a continuing menagerie of leading performers of uncertain sexual identity and strong confessional urges in Hedwig and the Angry Inch. American drama in New York City responded with new plays by August Wilson and Maria Irene Fornes, Edward Albee’s The Play About the Baby, Anna Deavere...

... of Misery. Popular culture as always is a lever to move the world, and people. As Suzan-Lori Parks’s play ing A opens at New York’s Public Theater, she dips her toe into a new genre with her first novel Getting Mother’s Body and into broader celebrity as she moves literally within sight...

... plays, good and bad, moving season by season: ‘‘Act One, 1969– 1975: Getting Through by the Skin of Our Teeth’’ (pp. 1–90); ‘‘Act Two, 1975–1984: Everything Old Is New Again’’ (pp. 91–235); ‘‘Act Three, 1984–1994: Playacting During a Plague’’ (pp. 237–361); and ‘‘Act Four, 1994...

... Corthron, for one, is curiously incomplete (cf. Peterson and Bennett, pp. 97 103). Informed researchers will consult both books. On the other hand, why read a book of plays dealing with the subject of lynching? Strange Fruit: Plays on Lynching by American Women, ed. Kathy A. Perkins and Judith L. Stephens...

... opening their New Playwrights Series at the Cherry Lane Theatre in New York City’s West Village in 1965 with three short plays: Sam Shepard’s Up to Thursday, Paul Foster’s Balls, and Lanford Wilson’s Home Free. Crespy posits that Albee’s The Zoo Story is the single play that created an entire...